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Encore Theatre's junior production of "James and the Giant Peach" finds a way to make everything better

by christopherporter

James and the Giant Peach

A Nancy Ekholm Burkert illustration from the 1961 edition of Roald Dahl's James and the Giant Peach.

Perhaps it’s a sign of how trippy a moment we find ourselves in that the work of Roald Dahl seems suddenly, particularly ubiquitous.

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Invisible Touch: "As Far As My Fingertips Take Me" explores the universal refugee crisis through a one-on-one encounter

by christopherporter

As Far As My Fingertips Will Take Me

Whenever I see news footage of refugees, I always think, “How bad would things have to get before I packed a bag and fled from my home?”

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Take Comfort: Jeff Daniels and Purple Rose Theatre's "Roadsigns" is like a '70s folk song come to life

by christopherporter

Purple Rose's Roadsigns

For more than a quarter-century, Chelsea’s Purple Rose Theatre has specialized in new plays that don’t normally require a music director.

That's why I was initially surprised to hear that a musical (or “play with music”?) called Roadsigns would have its world premiere there.

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We're All Crumpet Now: Kickshaw Theatre's production of David Sedaris' "The Santaland Diaries"

by christopherporter

Yianni Papadimos in Kickshaw Theatre's production of The Santaland Diaries

Yianni Papadimos in Kickshaw Theatre's production of The Santaland Diaries. Photo via Facebook.

Despite the clichéd, eye-roll-inducing notion of creative work that makes you laugh and makes you cry, David Sedaris’ essays are nearly universally adored because they regularly, miraculously achieve just that.

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Judy, Judy, Judy: Taylor Mac’s "Holiday Sauce" is a mischievous feast for the eyes, ears, and soul

by christopherporter

Taylor Mac's Holiday Sauce

Usually when I see a show for review, I don’t end up on stage, singing a Pogues song.

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The Cost of Joy: "A New Brain" is odd, lovable, and filled with ear candy

by christopherporter

A New Brain

“Sometimes joy has a terrible cost" is a quintessential lyric in William Finn’s autobiographical musical, A New Brain.

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Encore Theatre ably explores "The Secret Garden" despite the play's storytelling woes

by christopherporter

The Encore Theatre's poster for The Secret Garden

Generally, when we’re suffering and in pain, we know the cause.

But when it comes to identifying what will heal us -- let alone knowing whether healing is even possible -- that’s another matter entirely.

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Regrets, He's Had a Few: Former Wolverine and NFL wide receiver Braylon Edwards is forever "Doing It My Way"

by christopherporter

Braylon Edwards' book Doing It My Way

Former University of Michigan All American wide receiver and NFL Pro Bowler Braylon Edwards has a reputation for being outspoken, to say the least. But even so, he had to warm up to the idea of writing Doing It My Way: My Outspoken Life as a Michigan Wolverine, NFL Receiver, and Beyond.

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Rock 'n' Roll Theater: John Cameron Mitchell took listeners on a journey at Hill Auditorium

by christopherporter

John Cameron Mitchell The Origin of Love Nov 2 2019 by Doug Coombe

Photo by Doug Coombe

Saturday night’s Hill Auditorium performance by John Cameron Mitchell drew a crowd that likely skewed a bit younger and edgier than many University Musical Society audiences.

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Joseph Zettelmaier's "Dr. Seward’s Dracula" is a creepy, clever prequel to Bram Stokers' vampire legend

by christopherporter

Dr. Seward's Dracula

Allyson Miko as the Emily the ghost and Jeffrey Shawn Miller as the unstable Dr. Seward in The Penny Seats Theatre Company's production of Dr. Seward's Dracula.

Near the end of Joseph Zettelmaier’s play Dr. Seward’s Dracula -- now being staged by The Penny Seats Theatre Company, at Ann Arbor’s Stone Chalet Inn -- a character observes, “People need their monsters.”